Writings about the relationships between the news, politics, and art often repeat that art cannot possibly react to the news as quickly as the morning Times; that art cannot affect change or influence current events with the same efficacy as, say, street protests, elections, or nationally televised speeches. Godoy’s embodiment of the figure of the newscaster is not an attempt to make art as effective or responsive as the news per se. Rather, it is a method of slowing down the news, allowing it to tickle the spine, to disturb the mind, to be repeated, to be fragmented and reconstructed. Alternate stories emerge. Parallel lines are uncovered.Read More
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Uncanny, impenetrable, haunting is the work. The roofline continues forever. Where we might expect windows, key to easy personifications of home, no light is permitted. If a house is a body, this sculpture represents a form that is obscure even to itself. No one can look in, no one can see out. The form has no door, no mouth.Read More
This essay was written in conjunction with The Visible Hand, curated by David Borgonjon, on view at CUE January 7 – February 15, 2017.
Let’s begin by dismissing the notion that a purely agonistic relationship between the artist and the institution still holds. Such a strict opposition, if it ever applied, has eroded, revealing the increasing degree to which the notion of an outside—an alternative sphere of production and circulation, safe from the reaches of institutional and corporate strongholds—also must crumble. Artists today operate as administrators and consultants, grant writers and promoters, developers, coders, and graphic designers; they ride the wave launched in the sixties and accelerated in the nineties of the diversification of the labor force within the arts, a diversification that ceaselessly draws art practices closer to non-art professions.Read More
This essay was written in conjunction with Erin Dunn: Oceanic Dancer, on view at CUE June 4 – July 9, 2016.
Erin Dunn grew up at the Jersey Shore and spent her childhood exploring the Pine Barrens—the vast patch of forest known for misshapen trees and mythic tales. This odd, unexplored expanse of land in the middle of a region known for its turnpikes and boardwalks, deeply influences Dunn’s airbrushed paintings and stop-motion animations, in which the natural mixes with the grotesque to create mythic illusions.Read More
This essay was written in conjunction with Tamara Johnson: No Your Boundaries, on view at CUE February 13 – March 23, 2016.
If the challenge is to situate oneself within one’s present, the tools Johnson uses to do so are rope, silicon, paint and wood. It’s not hard to imagine that the time she spent staving off boredom at the granite warehouse has contributed to her becoming a sculptor: It is through building objects, and parsing their material qualities and the significance of their existence, that Johnson negotiates her own space within the world.Read More
This essay was written in conjunction with Lucia Love: Reflecting Pool, on view at CUE Art Foundation November 1 - December 11, 2014.
Lucia Love’s 2014 installation, Reflecting Pool, at CUE Art Foundation is theatrical and dramatic, and unlike most conventional exhibitions, in which the default setting is a brightly lit white cube, hers is a darkened, immersive environment, shadowy and murky, like a dream, or rather, like a nightmare.Read More